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BOX OFFICE & WILL CALL

Visit our box office in the lobby of the Helen Bonfils Theatre Complex, across from Boettcher Concert Hall in the Denver Performing Arts Complex. Ticket agents also are available in person at each theatre one hour prior to each show.

“Ibsen recognized 140 years ago that men struggle to recognize women as peers, as autonomous, as human.”

Meet Zachary Andrews

Zachary Andrews has previously appeared in DCPA Theatre Company productions of Romeo & Juliet, A Christmas Carol and The Three Musketeers. Regional credits include playing Spike in Vanya & Sonya & Masha & Spike for Kansas City Rep and Centerstage Baltimore. Local credits last year include the award-winning Paper Cut for Local Theater Company and Pride & Prejudice for Boulder Ensemble Theatre Company. He is also a returning member of the Arvada Center’s Black Box Ensemble and maintains a parallel career as a professional photographer and filmmaker.

Role:Nils Krogstad in A Doll’s House. (He’s the blackmailing banker who gives Nora the loan that gets her in all that trouble and saves her husband’s life.) Sir Not Appearing in this Play in A Doll’s House, Part 2

So, about this whole ‘it’s illegal for a woman to take out a loan’ thing in ‘A Doll’s House’: Whatever. In 2019, What should a man say to his wife when he discovers she has secretly taken out a loan that literally saved his life? “OMG, THANK YOU. But is it adjustable or fixed rate? I mean … thank you. But seriously … fixed rate? … but thank you.”

Who is the modern-day Nora in your life? My cat, Waffles. She’s untamed, wily, and uses her cuteness to get stuff. She’s also quietly plotting the downfall of my family … so she’s kind of Krogstad, too.

Why does revisiting A Doll’s House matter now? How incredibly prescient Henrik Ibsen was, and how intricately and precisely balanced his play is. He recognized 140 years ago that men struggle to recognize women as peers, as autonomous, as human. This play has returned my attention to the discomforting truth that his point still stands.

What do you hope the audience gets out of seeing these plays? I hope they get to see them together for the first time. I hope it is entertaining and provocative for our audience, and that they get lost in the world created by these two titanic scripts. I think the intimacy and immediacy of the Ricketson will mean that the audience is going to meet this story at the height of the moment.

What’s one thing you want to get off your chest? If I didn’t get health insurance from Actor’s Equity Association, I’d likely be working as the world’s unhappiest document clerk. Everyone deserves health care, and it should not have to dictate the course of one’s life or career. Also, the Amazon is burning. And Greenland is melting. So … just hug your mom, and your dog, and a tree, and a stranger. Unless they have space issues. Feel it out.

Ticket information

Henrik Ibsen’s renowned classic shattered the traditions of his time as his protagonist, Nora, walked out on her stark marital obligations. Decades later, Lucas Hnath brought her home (and to Broadway) to revisit her actions through a contemporary lens.

A Doll’s House: Cast

Nora’s life is a picture-perfect portrait, complete with a doting husband, gleeful children and the small pleasures of her 1870s Norwegian home. But underneath her wide-eyed demeanor lies a deceit that she fears will tear her family apart. As the consequences stack up to reveal deeper flaws in her relationship, she slams the door on her marriage to assert her independence in this heart-wrenching and gripping production.

Written by Henrik Ibsen

Adapted by Frank McGuinness

Directed by Chris Coleman

Nora Helmer: Marianna McClellan

Torvald Helmer: Michael Schantz

Doctor Rank: Leif Norby

Nils Krogstad/Messenger: Zachary Andrews

Kristine Linde: Anastasia Davidson

Anne-Marie: Leslie O’Carroll

Helmer children: Jessiah DeLeon, Radley Wright and Samuel Bird

A Doll’s House, Part 2: Cast

Fifteen years later, Nora’s unexpected return cuts through the subtext to confront her decisions head-on in this Tony-nominated, contemporary sequel. Asking for favors instead of forgiveness, the proudly independent woman demands help from the family she left behind. But as she roasts the society she has shunned, her husband and children get their long-awaited chance to stand their ground.